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Nail Art : Sejarah, Bentuk, Warna dan Teknik Pembuatannya Maria Krisnawati; Agus Cahyono; Muh Ibnan Syarif; Muh Fakhrihun Naam; Erni Eka Ariyanti
Prosiding Seminar Nasional Pascasarjana Vol. 5 No. 1 (2022)
Publisher : Pascasarjana Universitas Negeri Semarang

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Abstrak. Nail art adalah tindakan untuk mempercantik kuku dengan memberi gambar, lukisan atau hiasan baik secara langsung maupun menggunakan kuku palsu. Tujuan penelitian ini adalah untuk menjelaskan sejarah, bentuk, warna dan teknik pembuatannya. Metode penelitian ini menggunakan studi pustaka. Hasil penelitian menunjukkan bahwa nail art atau seni menghias kuku telah dikenal sejak ratusan tahun yang lalu dan berkembang hingga sampai saat ini, terdapat bentuk nail art yang dilihat dari kukunya yaitu oval, square, squoval, round dan pointed, dari segi warna tersedia berbagai macam warna namun penggunaannya harus disesuaikan dengan warna kulit. Teknik yang digunakan untuk membuat nail art adalah kuas, stamping, water marble, dan ombre. Hasil penelitian ini untuk meningkatkan pengetahuan nail art yang dapat dimanfaatkan oleh masyarakat dan pendidikan. Abstract. Nail art is an action to beautify nails by giving pictures, painting or decorations either directly or using artificial nails. The purpose of this study is to explain the history, shape, colour and manufacturing techniques. This research method uses literature study. The results show that nail art or nail art has been known for hundreds of years and has developed until now, there are forms of nail art seen from the nails, namely oval, square, squoval, round and pointed, in terms of color, there are various colors available. but its use must be adjusted to the color of the skin. The techniques used to make nail art are brush, stamping, water marble, and ombre. The results of this study are to increase knowledge of nail art that can be utilized by the community and education.

Kriya gerabah Bumi Jaya: Pendidikan keluarga pada perajin Bumi Jaya Amaliyah, Millatun; Na’am, Muh. Fakhrihun; Syarif, Muh. Ibnan
Imaji: Jurnal Seni dan Pendidikan Seni Vol 21, No 2 (2023): IMAJI OCTOBER
Publisher : FBSB UNY

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21831/imaji.v21i2.52529

Tujuan dari penelitian ini adalah untuk mengkaji upaya yang dilakukan oleh perajin untuk mempertahankan kerajinan tradisional. Dengan menggunakan metode deskriptif kualitatif. Penelitian ini menggunakan pendekatan interdisipliner yang mencakup etnografi untuk mengkaji budaya dalam masyarakat, dan pendidikan. Dari hasil pengumpulan dan analisis data dan informasi, dapat diketahui bahwa dalam budaya Indonesia banyak hal yang harus dipertahankan, baik tradisional maupun artistik, seperti yang dilakukan masyarakat Bumi Jaya untuk mempertahankan kerajinan tradisional di Banten. Di era globalisasi ini, seni tradisional mengalami masa-masa yang stagnan untuk terus bertahan dan diakui, banyak upaya yang dapat dilakukan oleh pengrajin untuk mempertahankan kerajinan tradisional. Seperti yang dilakukan perajin Bumi Jaya untuk mempertahankan gerabahnya, di mana gerabah Bumi Jaya telah dikenal sejak masa kesultanan yang kemudian akan datang kepada generasi berikutnya sehingga dapat dikatakan sebagai seni tradisional. Pengrajin Bumi Jaya terus berusaha mempertahankan kerajinan gerabah tradisional dengan berbagai cara, salah satunya dilingkungan keluarga, perajin menurunkan ke generasi selanjutnya lewat aktivitas sehari hari yang melibatkan anak ketika proses pembuatan gerabah, yang di sebut dengan pendidikan keluarga orang tua memberikan peran penting dalam pendidikan keluarga, dengan pendidikan keluarga ini bertujuan menurunkan keterampilan membuat gerabah dan mengajarkan nilai nilai kehidupan seperti kepedulian dan kekeluargaan.Kata kunci: gerabah, Bumi Jaya, pendidikan Bumi Jaya gerabah engineering: Family education in Bumi JayaAbstractThe purpose of this study is to examine the efforts made by craftsmen to maintain traditional crafts. By using a qualitative descriptive method. This study uses an interdisciplinary approach that includes ethnography to examine culture in society, and education. From the results of data and information collection and analysis, it can be seen that in Indonesian culture there are many things that must be preserved, both traditional and artistic, such as what the Bumi Jaya people do to maintain traditional crafts in Banten. In this era of globalization, traditional arts experience stagnant times to continue to survive and be recognized, many efforts can be made by craftsmen to maintain traditional crafts. Like what Bumi Jaya craftsmen do to maintain their pottery, where Bumi Jaya pottery has been known since the sultanate period which will then come to the next generation so that it can be said as a traditional art. Bumi Jaya craftsmen continue to try to maintain traditional pottery crafts in various ways, one of which is in the family environment, craftsmen pass it on to the next generation through daily activities that involve children when the pottery-making process, which is called family education, parents play an important role in family education, This family education aims to reduce pottery making skills and teach the values of life such as caring and kinship.Keywords: pottery, Bumi Jaya, education

The noble character-based learning in the ornaments of Kraton Yogyakarta: A visual analysis of Javanese cultural heritage Ambarwati, Dwi Retno Sri; Rohidi, Tjetjep Rohendi; Syakir, Syakir; Syarif, Muhammad Ibnan; Pamadhi, Hajar
Jurnal Cakrawala Pendidikan Vol. 43 No. 1 (2024): Cakrawala Pendidikan (February 2024)
Publisher : LPMPP Universitas Negeri Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21831/cp.v43i1.66310

In the context of art as a language, ornament also functions as a visual language, because in Javanese culture there is a tradition to express an idea, expression, and moral message containing learning about noble morals through ornamentation. This paper aims to analyze what are the noble moral-based learning contained in ornaments in Kraton Yogyakarta and what influenced them. Data were obtained through field observation, interviews, and literature studies. The results showed that the decorative figural art and ornamentation in Javanese culture are not only visually captivating but also convey profound cultural, religious, and moral meanings, making them an essential part of the Javanese cultural heritage. The visual narrative of ornaments was mainly influenced by cultural acculturation in Javanese society, while noble character-based learning was the result of religious syncretism and belief in Javanese culture.

PROSES KREATIF MUA (MAKE UP ARTIST) PEKALONGAN DALAM MENGHADAPI TANTANGAN DI ERA DIGITAL Indrasmara, Atmanurvita Prameswari; Jazuli, Muhammad; Syarif, Muh. Ibnan
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 16 No. 1 (2024)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v16i1.5684

ABSTRACTThe arts industry is an industry that requires talent, creativity and innovation. Bridal make-up is an industry that must be equipped with these three elements. This is interesting to research because creativity must compete in the midst of the digital era, where a MUA (Make Up Artist) must be clever at brainstorming by continuing to be creative and innovative and have an adaptive attitude to adapt to challenges in the digital era in order to maintain its existence. This research aims to determine the creative process of a MUA (Make Up Artist) in Pekalongan and the challenges of a Pekalongan MUA (Make Up Artist) in facing challenges in the digital era. This research is a type of qualitative research. The research method used is the descriptive-analysis method. Data collection was carried out through observation, interviews, literature study and documentation study. The analysis used is data analysis starting from data collection, data reduction, data presentation and drawing conclusions. This writing will begin with a description of (1) The creative process of MUA (Make Up Artist) in Pekalongan, (2) Challenges of MUA (Make Up Artist) facing the digital era.

The effect of abstraction degree in contemporary painting subjects on gallery visitors' appreciative responses: an aesthetic psychology approach Mujiyono, Mujiyono; Haryanto, Eko; Gunadi, Gunadi; Syarif, Muhammad Ibnan
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 20 No. 1 (2025)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v20i1.6346

One of the main challenges in understanding contemporary paintings is their high degree of abstraction. Each painting simplifies and alters its subject's form, with varying degrees of similarity to objects from nature. This study aims to examine how the degree of abstraction in contemporary painting subjects affects visitors' appreciative responses using an aesthetic psychology approach. The study employs a mixed-methods approach with a multiple-case study design. Semarang Gallery and Sangkring Art Space, both reputable galleries known for their artistic collections and high visitor numbers, were selected for this study. An evaluative survey was conducted with visitors at each gallery using a standardized set of operational questions. Descriptive statistical analysis was applied to calculate the average appreciation scores for each structure within the aesthetic psychology framework. Qualitative data from interviews and observations were employed to explain and enrich the survey findings. A cross-case analysis was carried out to identify the similarities and differences in the tendencies of aesthetic psychological structures across the two galleries. The findings indicate that three types of contemporary paintings, each with a varying degree of subject abstraction, were appreciated by visitors at both Semarang Gallery and Sangkring Art Space across the affective, perceptual, and cognitive dimensions. Affective responses emerged as the most dominant, followed by perceptual and cognitive responses, with an insignificant difference level (p < 0.05). The finding suggests that the degree of abstraction in contemporary paintings does not significantly affect the public's ability to appreciate them, particularly in affective, perceptual, and interpretative responses.

Penguatan Desain Pola Motif Batik sebagai Strategi Inovasi Produk Fungsional di UMKM Batik Linggo Fakhrihun Na'am, Muh; Prasetyaningtyas, Wulansari; Syarif, Muh Ibnan; Athian, Muhammad Rahman; Aulia Pambajeng Miftahunnajah, Nimas
Room of Civil Society Development Vol. 4 No. 4 (2025): Room of Civil Society Development
Publisher : Lembaga Riset dan Inovasi Masyarakat Madani

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59110/rcsd.692

Program pengabdian ini dilatarbelakangi oleh rendahnya kemampuan perajin Batik Linggo di Kendal dalam merancang desain pola motif batik yang aplikatif pada produk fungsional seperti busana dan pelengkapnya. Tujuan kegiatan ini adalah meningkatkan kapasitas perajin dalam mengembangkan desain motif batik serta keterampilan produksi dan pemasaran berbasis digital. Metode pelaksanaan dilakukan melalui pendekatan partisipatif yang mencakup penyuluhan, demonstrasi, praktik langsung, dan pendampingan intensif. Kegiatan ini menghasilkan 19 produk fungsional, satu di antaranya berhasil didaftarkan hak cipta, serta peningkatan signifikan dalam keterampilan desain, pemanfaatan limbah kain perca, dan penguasaan pemasaran digital. Temuan menunjukkan bahwa pelatihan desain pola berbasis motif lokal mampu memperkuat inovasi produk, mendukung prinsip keberlanjutan, serta mendorong kemandirian ekonomi perajin. Kegiatan ini sekaligus memperkuat pelestarian batik sebagai warisan budaya melalui pendekatan kreatif dan kolaboratif berbasis potensi lokal.

Penguatan Desain Pola Motif Batik sebagai Strategi Inovasi Produk Fungsional di UMKM Batik Linggo Fakhrihun Na'am, Muh; Prasetyaningtyas, Wulansari; Syarif, Muh Ibnan; Athian, Muhammad Rahman; Aulia Pambajeng Miftahunnajah, Nimas
Room of Civil Society Development Vol. 4 No. 4 (2025): Room of Civil Society Development
Publisher : Lembaga Riset dan Inovasi Masyarakat Madani

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59110/rcsd.692

Program pengabdian ini dilatarbelakangi oleh rendahnya kemampuan perajin Batik Linggo di Kendal dalam merancang desain pola motif batik yang aplikatif pada produk fungsional seperti busana dan pelengkapnya. Tujuan kegiatan ini adalah meningkatkan kapasitas perajin dalam mengembangkan desain motif batik serta keterampilan produksi dan pemasaran berbasis digital. Metode pelaksanaan dilakukan melalui pendekatan partisipatif yang mencakup penyuluhan, demonstrasi, praktik langsung, dan pendampingan intensif. Kegiatan ini menghasilkan 19 produk fungsional, satu di antaranya berhasil didaftarkan hak cipta, serta peningkatan signifikan dalam keterampilan desain, pemanfaatan limbah kain perca, dan penguasaan pemasaran digital. Temuan menunjukkan bahwa pelatihan desain pola berbasis motif lokal mampu memperkuat inovasi produk, mendukung prinsip keberlanjutan, serta mendorong kemandirian ekonomi perajin. Kegiatan ini sekaligus memperkuat pelestarian batik sebagai warisan budaya melalui pendekatan kreatif dan kolaboratif berbasis potensi lokal.

PROSES KREATIF MUA (MAKE UP ARTIST) PEKALONGAN DALAM MENGHADAPI TANTANGAN DI ERA DIGITAL Indrasmara, Atmanurvita Prameswari; Jazuli, Muhammad; Syarif, Muh. Ibnan
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 16 No. 1 (2024)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v16i1.5684

ABSTRACTThe arts industry is an industry that requires talent, creativity and innovation. Bridal make-up is an industry that must be equipped with these three elements. This is interesting to research because creativity must compete in the midst of the digital era, where a MUA (Make Up Artist) must be clever at brainstorming by continuing to be creative and innovative and have an adaptive attitude to adapt to challenges in the digital era in order to maintain its existence. This research aims to determine the creative process of a MUA (Make Up Artist) in Pekalongan and the challenges of a Pekalongan MUA (Make Up Artist) in facing challenges in the digital era. This research is a type of qualitative research. The research method used is the descriptive-analysis method. Data collection was carried out through observation, interviews, literature study and documentation study. The analysis used is data analysis starting from data collection, data reduction, data presentation and drawing conclusions. This writing will begin with a description of (1) The creative process of MUA (Make Up Artist) in Pekalongan, (2) Challenges of MUA (Make Up Artist) facing the digital era.

KAJIAN ESTETIK DAN SIMBOLIK MOTIF TENUN TEMBE NGGOLI PRODUKSI PERUSAHAAN TENUN NUR SAKURA RABADOMPU TIMUR BIMA Maulida, Nabila Husnul; Syarif, Muhammad Ibnan
Eduarts: Jurnal Pendidikan Seni Vol 13 No 1 (2024): Eduarts: Jurnal Pendidikan Seni
Publisher : Universitas Negeri Semarang

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Penelitian ini bertujuan mendeskripsikan karakteristik motif, nilai estetik, dan makna simbolik tenun Tembe Nggoli. Pendekatan penelitian menggunakan metode kualitatif dengan teknik pengumpulan data melalui observasi, wawancara, studi dokumen. Data yang diperoleh kemudian dianalisis dan dideskripsikan melalui tahap reduksi data, penyajian data, dan penarikan kesimpulan. Berdasarkan hasil penelitian dapat diketahui bahwa karakteristik tenun Tembe Nggoli terdiri dari jenis motif geometris, flora, dan fauna. Dari keseluruhan motif tenun Tembe Nggoli yang diproduksi Nur Sakura anatalain adalah Tembe Nggoli Gari, Tembe Nggoli Renda, Tembe Nggoli Isi Mangge, dan Tembe Nggoli Kakando. Motif-motif tersebut terdiri dari motif pokok dan motif pelengkap, kecuali Tembe Nggoli Gari yang hanya terbentuk dari satu motif. Tenun Tembe Nggoli memiliki nilai estetik Tenun Tembe Nggoli memiliki nilai estetik berupa 1.) Nilai budaya kosmologis, dan 2.) Makna simbolik tenun Tembe Nggoli berdasarkan motif batiknya menjadi perlambangan dari sikap, sifat, perilaku, dan karakter Dou Mbojo yang memegang teguh nilai religius dan nilai budaya, kerukunan, ketaqwaan, ketegasan dan kejujuran. Warna merah melambangkan keberanian, warna putih melambangkan keikhlasan, hijau adalah lambang kesejahteraan dan kemakmuran Kesultanan Bima, biru melambangkan kedamaian, kuning merupakan simbol kejayaan dan kebesaran Kesultanan Bima, ungu melambangkan kesabaran dan ketabahan, serta hitam melambangkan kehidupan yang sangat menghormati bumi dan lingkungan sebagai sumber kehidupan dan kesejahteraan.

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